'A masterly portrayal of an innocent.' Harold Pinter, from 'Directing Simon Gray's Plays', Simon Gray Plays 1 'Superficially, it is a light comedy about a group of educated, often eccentric English characters in an academic backwater in the early sixties. But though the jokes are excellent, the piece cuts deep. There are Strindberg-like glimpses of wretchedly unhappy marriages and, as in Ibsen, a sense of chickens coming home to roost. But the primary impression here is of an English Chekhov. As in the plays of the Russian master, the characters talk a lot, but they rarely listen, still less understand, so they are often at cross-purposes. And like The Seagull, the long time scheme in Quartermaine's Terms - it spans several years - creates a poignant sense of transience and mortality.' Daily Telegraph 'Gray's selection of details and exchanges is immaculate: he achieves drama and mystery in mundane lives; the comedy is beautifully stated and even personal tragedies are underlined with running gags that ring with truthfulness. No false hothouse effect is necessary to make bare the bewilderment of spirit of his central figure, the grinning, forgetful and deeply kind staff lecturer, St John Quartermaine, an inarticulate character of awesome loneliness who rivals the tragic force of Willy Loman.' The Times 'A play that is at once full of doom and gloom and bristling with wry, even uproarious comedy. The mixture is so artfully balanced that we really don't know where the laughter ends and the tears begin: the playwright is in full possession of the Chekhovian territory where the tragedies and absurdities of life become one and the same.' New York Times

This timely and accessible book explores the shifting representations of schoolteachers and professors in plays and performances primarily from the twentieth and twenty-first centuries in the United States. Examining various historical and recurring types, such as spinsters, schoolmarms, presumed sexual deviants, radicals and communists, fascists, and emasculated men teachers, Wilson shines the spotlight on both well-known and nearly-forgotten plays. The analysis draws on a range of scholars from cultural and gender studies, queer theory, and critical race discourses to consider teacher characters within notable education movements and periods of political upheaval. Richly illustrated, the book will appeal to theatre scholars and general readers as it delves into plays and performances that reflect cultural fears, desires, and fetishistic fantasies associated with educators. In the process, the scrutiny on the array of characters may help illuminate current attacks on real-life teachers while providing meaningful opportunities for intervention in the ongoing education wars.

'A masterly portrayal of an innocent.' Harold Pinter, from 'Directing Simon Gray's Plays', Simon Gray Plays 1 'Superficially, it is a light comedy about a group of educated, often eccentric English characters in an academic backwater in the early sixties. But though the jokes are excellent, the piece cuts deep. There are Strindberg-like glimpses of wretchedly unhappy marriages and, as in Ibsen, a sense of chickens coming home to roost. But the primary impression here is of an English Chekhov. As in the plays of the Russian master, the characters talk a lot, but they rarely listen, still less understand, so they are often at cross-purposes. And like The Seagull, the long time scheme in Quartermaine's Terms - it spans several years - creates a poignant sense of transience and mortality.' Daily Telegraph 'Gray's selection of details and exchanges is immaculate: he achieves drama and mystery in mundane lives; the comedy is beautifully stated and even personal tragedies are underlined with running gags that ring with truthfulness. No false hothouse effect is necessary to make bare the bewilderment of spirit of his central figure, the grinning, forgetful and deeply kind staff lecturer, St John Quartermaine, an inarticulate character of awesome loneliness who rivals the tragic force of Willy Loman.' The Times 'A play that is at once full of doom and gloom and bristling with wry, even uproarious comedy. The mixture is so artfully balanced that we really don't know where the laughter ends and the tears begin: the playwright is in full possession of the Chekhovian territory where the tragedies and absurdities of life become one and the same.' New York Times

The disability experience has, until very recently, been marginalized, stereotyped, and ignored in literature. Now, through the vehicles of nonfiction, poetry, fiction, and drama, Staring Back is the first anthology to open the landscape of the disabled experience for exploration and discussion.The presence of such well-known authors as Lucy Grealy, John Hockenberry, and Marilyn Hacker in this anthology gives immediate lie to the notion that disability is a limitation to insight and productivity. But just as importantly, Staring Back challenges us to look anew at the disabilities of FDR and Matisse; the lives of Helen Keller and Frida Kahlo; the work of Stephen Hawking. It urges us to redefine what is meant by ?cure,? to understand hidden disabilities, and even to find humor in ways that defy our expectations.If there is one theme that binds this diverse body of work, aside from its subject matter, it is the theme of human connection?a connection with the past, with each other, with our bodies, and with ourselves. As Kenny Fries writes in his introduction, ?Throughout history, those who live with disabilities have been silenced by those who did not want to hear what we have to say. We have also been silenced by our own fear...the fear that if we told our stories, people would say, ?See, it isn?t worth it. You would be better off dead.?? Staring Back emphatically demonstrates the power of these writers? stories to overcome that fear and to break that silence.

"Brusque Lady . . . Please meet the Jackal at the bar in the Metro Court at 10:00 PM sharp. Although it is somewhat past my his bedtime, he must speak with you on a grave matter concerning many of your clientele. Do not fail me him. Regards, The Jackal" So begins an evening unlike any other in Port Charles. When high-powered attorney Diane Miller agrees to meet with computer hacker extraordinaire Damian Spinelli, otherwise known as The Jackal, she knows she's in for an interesting night. But the stories he has to tell about some of Port Charles's most famous, and infamous, inhabitants are beyond her wildest imagination. Could these tales possibly be true? Or is Spinelli using her for some other purpose? From the deck of the Smilin' Lila to the halls of General Hospital, from the Case of the Vamping Valkyrie to the Case of the Contrived Contralto, here are Spinelli's tales of intrigue, kidnapping, murder, and more. The office of Spinelli/McCall, P.I., has never been busier. Spinelli may be a gumshoe like no other, but he will save, defend, and protect the citizens of Port Charles until the bitter end!

Theatre critics' reviews brings you the complete reviews from these New York publications and stations whenever covered by the critic: New York daily news, Wall Street journal, Time, New York post, Women's wear daily, WABC-TV, CBS-TV, New York times, Christian Science monitor, Newsweek.

An urban drama from the author of Street Trilogy